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lilydemet committed Mar 31, 2024
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111 changes: 22 additions & 89 deletions disorientation.html
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<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/disorientation.html" target="_blank">code_side</a>
<br>
<a href="./practice.html">practice</a>
<a href="./tactics.html">tactics</a>
<a href="./interference.html">interference</a>
<a href="./tactics.html">tactics</a>
<a href="./rendering.html">rendering</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="./commonplace.html">process_commonplace</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
</div>
<div id="main">
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<!--de certeau citation: voracious property)-->
<span class="quote">It is true that the operations of walking on can be traced on city maps in such a way as to transcribe their paths (here well-trodden, there very faint) and their trajectories (going this way and not that). But these thick or thin curves only refer, like words, to the absence of what has passed by. Surveys of routes miss what was: the act itself of passing by…The trace left behind is substituted for the practice. It exhibits the (voracious) property that the geographical system has of being able to transform action into legibility, but in doing so it causes a way of being in the world to be forgotten. (97)
</span>
<br>
</p>
<!--abstract to concrete-->
<!-- <div class="vignette" style="width:50%; margin:auto;">
<img src="./media/field/chalk.jpeg" style="width:100%;"><br>
Early April 2022, my friend and I are walking along a familiar street and see, resting amongst the
regular fairy pebbles and kitsch that decorate the bases of so many chestnut trees in this neighborhood, a
box of chalk. It’s an open-ended invitation to which we respond by pausing to draw colorful forms on the
sidewalk. “Very affirming” comments a passerby as they smile and skirt around us. In this moment, we have
transformed an otherwise pedestrian space into a place of interest, using what mediums surround us to
engage with the city and its passersby.
<br><br>
days later we walked the same sidewalk and saw the weathered impression dissolving back to
abstraction. i wonder how many soles picked up pieces of chalk and how far our art walked with them.<br>
<img src="./media/field/chalk2.jpeg" style="width:100%;"><br>
</div> -->

<p>
I am interested in exploring ways of being in the world and the entangled nature of trace and practice. Although the first cartography assignment I taught generated practical knowledge of Adobe Illustrator, it did not prepare me or my students to navigate the city from ground level. Tracing Google Maps stood <i>in place</i> of spatial practice. The cartographer remained positioned as a disembodied viewpoint, a voyeur “lifted out of the city’s grasp” (de Certeau 1984, 92). From the 110th floor of the World Trade Center, de Certeau (1984) gazes down at New York City and remarks of the spectator:
<br><br>
<!--voyeur citation de certeau-->
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</div>
</div>
<br>
<p>
<p>
Detours open up the possibility of surprising connections and serendipitous encounters. Drawing on serendipitous encounters with serendipity itself, Esther Fitzpatrick (2017) describes the important role serendipity plays in her creative research practice. The Serendipiter, Fitzpatrick learns, “is a skilled researcher who always has a problem or question that occupies their mind, who immerses themselves 'playfully' and 'passionately' into their world, and who is open to notice and discover connections and patterns throughout their daily Encounters” (2017, 64). In this way, the Serendipter is not dissimilar from the rhythmanalyst or the deep mapper. Fitzpatrick articulates a kinship between the Serendipitor and bricoleur. For Fitzpatrick, being a bricoleur researcher means “allowing space for getting lost, learning to use my intuition by <i>feeling</i> my way through, taking my time, waiting and mulling over, playing with my material, and tossing back and forth between theory, words and knowledge” (2017, 64). Deep mapping is slow scholarship in practice: it takes time to get lost, to make detours, to move forward with only an intuitive sense of a future opening. Writes Les Roberts (2018b) of the 'researcher-as-bricoleur':
</p>

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</div>



<!--bibliography-->
<br><br><br><br>
<!--bibliography-->
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<a name="disorientation-bibliography" id="disorientation-bibliography"></a>
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</script>
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<br><br><br>

<br><br><br>
<br>
<a href="#top">return to top</a><br>
<br><br>




<!--Tactics of Practice-->
<!-- <div>
<a name="tactics-of-practice" id="tactics-of-practice"></a>
<p>
<span style="font-weight:700">TACTICS OF PRACTICE</span>
<br>
In <i>The Practice of Everyday Life </i>(1984), Michel de Certeau describes everyday practices such as talking, reading, and moving about as tactical, “ways of operating” the Greeks called mētis (xix). James Scott (1998) elaborates mētis as practical knowledge. In contrast with epistemologies that are abstract, general, and universal, practical knowledge is experiential, situated, and local (Scott 1998, Chapter 9). Tactics are methods whose validity is measured by their applicability to the situation at hand (Roberts 2018?). Tactics deploy practical knowledge. The tactics of everyday practices are opportunistic; appropriating the hegemonic system from within, such “surreptitious creativities” form a “proliferating illegitimacy” which resists the authority that seeks their administration or suppression (de Certeau 1984, 96). Whereas the system in authority deploys strategy to delimit and maintain the place of its positioning, “a tactic is a calculated action determined by the absence of a proper locus… The space of a tactic is the space of the other” (de Certeau 1984, 37).
<br><br>
Learning through disorientation requires tactics. The objectives of my research and the object of my thesis have emerged through everyday practices of talking, reading, and otherwise navigating a physical-conceptual field that was at first unfamiliar. I did not embark upon my thesis with a destination-oriented strategy so much as the desire to find out what being a geographer could mean for me. Instead of preemptively delimiting a field whereupon to lay my claim, in true relationship anarchy style, I designed my own commitments so as to “build for the lovely unexpected” (Nordgren 2006). My work is research-creation for it sets up a dialogue with the world and is driven by spatial and intellectual topoi which lure me forwards even before I comprehend where they lead (Loveless 2019). My fieldsite cannot be instantaneously apprehended as the nominal City, nor can it be captured by the frame of a single map. Neither has one disciplinary framework or methodology been sufficient: each time I leave home I bring along an assortment of people/stories/theories I wish to think with for the day. I put them into conversation first amongst themselves. Heavy in my bag, their pages interlap, folding together like a pair of hands. Opening one, I open myself: Read me
</p>
<br><br>
</div> -->

<!--Tracing The City-->
<!-- <div>
<a name="tracing-the-city" id="tracing-the-city"></a>
<p>
<span style="font-weight:700">TRACING THE CITY AS PLACING THE CITY</span><br>
In <i>The Practice of Everyday Life</i> (1984), Michel de Certeau relationally articulates space and place with the following: “space is a practiced place” (117, emphasis in original). He writes,
<br> <br>
</p>
<div style="width:46%; overflow:scroll; margin:auto">
<img src="./media/commonplace/deCerteau1984_117.jpg" style="width: 100%">
<br>
<span style="font-size:12px;"><b>Site 2</b> de Certeau, Michel. 1984. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press.</span>
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</div>
<p>
Google’s map of Vancouver abides by the law of the “proper”. It produces the city as a place wherein each element has a distinct location. Position is made determinate by a spatial configuration which “excludes the possibility of two things being in the same location (place)” (de Certeau 1984, 117, emphasis in original). Such a static coordination allows for navigation to be routed (by Google) from one element to another. The navigational possibilities, however, remain determined (and constrained) by the law whose logic governs the map: follow streets, not alleys; walk on sidewalks; don’t jay-walk; turn right here, not at the next block. Disorientation is a destination not found by Google Maps, which asks in response, "Should this place be on Google Maps?" (“Google Maps” n.d.).
<br><br>
</p>
<div style="height:70%; width:35%; margin:auto">
<img src="./media/field/disorientation.png" style="width: 100%">
<br>
<span style="font-size:12px;"><b>Site 3</b>Screenshot of Google Maps search for 'disorientation'. Click <a href="https://www.google.com/maps/search/disorientation/@49.2564613,-123.1824201,12z?entry=ttu" target="_blank">here</a> for search.
</div>
<div style="height:200px; width:700px; overflow:scroll; margin:auto">
<img src="./media/commonplace/Lefebvre1996_108-9.jpg" style="width: 110%">
</img>
<img src="./media/commonplace/Lefebvre1996_110.jpg" style="width: 100%">
</img><br>
Lefebvre, Henri. “Right to the City.” In <i>Writings on Cities,</i> translated by Eleonore Kofman and Elizabeth Lebas. Cambridge, Mass: Blackwell, 1996.
</div>
<p>
Yet de Certeau contends it is pedestrian movements that spatialize the city, writing, “space is composed of intersections of mobile elements…space occurs as the effect produced by the operations that orient it, situate it, temporalize it…” (1984, 117). While urban geographers and planners may theorize and design the city, urban space is produced through everyday navigations and encounters. If the apprehension of place renders position determinate, the motion that spatializes renders position indeterminate: “to walk is to lack a place” (de Certeau 1984, 103). Google Maps imposes the law of the “proper” upon navigation by substituting “a mark <i>in place of</i> acts, a relic in place of performances: it is only their remainder, the sign of their erasure” (de Certeau 1984, 35, emphasis in original).
While the first cartography assignment I taught generated practical knowledge of Adobe Illustrator, it did not prepare me or my students to navigate the city from ground level. Tracing a map stood <i>in place</i> of spatial practice. The mapper was positioned as a disembodied viewpoint, a voyeur “lifted out of the city’s grasp” (de Certeau 1984, 92).<br><br>
The rhythmanalyst, on the other hand, immerses himself in the world with all his senses: “he must arrive at the concrete through experience” (Lefebvre 1992, 32). Figured by Henri Lefebvre (1992), the rhythmanalyst is he who “garbs himself in this tissue of the lived, of the everyday” and, taking his own internal rhythms as reference, comes to listen to the city as if it were a symphony (31-32). Situated simultaneously inside and outside the subject of analysis, the rhythmanalyst understands that “...to grasp a rhythm it is necessary to have been <i><b>grasped</b></i> by it; one must <i>let oneself go</i>, give oneself over, abandon oneself to its duration” (Lefebvre 1992, 37, emphases in original). Pressing my chest against the Granville Bridge I feel at once its trembling vibration and my own heart’s rapid beating. I embody a sonic superposition: vibrational waves overlap; interfere; combine. The rhythm of their resulting wave marks a pattern of interference, also called a diffraction pattern. Through visceral encounter, I become entangled with the infrastructure which I had heretofore approached as an instrument unto an abstracting vantage.
<br><br>
<a name="research-question" id="research-question"></a>
What could it mean to think <i>with</i> place? To <i>feel</i> the city? How might the tactics of practical knowledge be employed to interfere with epistemological hegemonies from within? My master’s research is an exploration and response to these questions through deep mapping, a practice of situated, embodied inhabitation by which I enter into dialogue with my surroundings. My thesis project amounts to cultivating my practice of deep mapping, theorizing my interpretation of this capacious practice <i>through</i> practice, and enacting my theory as praxis. What is rendered here is not a substitution for practice but the effects of continued practice, a partial account of an ongoing and open-ended dialogue with the world.
</p>
<br><br>
</div> -->

<!--intersection detours-->
<!-- <div class="vignette" style="width:50%; margin:auto">
<div class="row2">
<div class="column4" >
<img src="./media/field/detour1.jpeg" style="width:100%">
<img src="./media/field/detour2.jpeg" style="width:100%">
</div>
<div class="column4">
<img src="./media/field/detour3.jpg" style="width:100%">
<img src="./media/field/detour4.jpg" style="width:100%">
</div>
</div>
Shifting navigations around the broadway-city-hall intersection due to the multi-year subway construction project.
</div> -->

<!--practice disoriented discovery -->
<!-- <div class="vignette" style="width:50%; margin:auto;">
Destination-oriented navigation must not needs be direct(ed) movement from one location to another.
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<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./interference.html">interference</a>
<a href="./rendering.html">rendering</a>
<a href="./tactics.html">tactics</a>
<a href="./rendering.html">rendering</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
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<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<br>
<a href="./rendering.html">rendering</a>
<a href="./tactics.html">tactics</a>
<a href="./rendering.html">rendering</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
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<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/rendering.html" target="_blank">code_side</a>
<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./tactics.html">tactics</a>
<a href="./interference.html">interference</a>
<br>
<a href="./tactics.html">tactics</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
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<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./interference.html">interference</a>
<a href="./rendering.html">rendering</a>
<a href="./tactics.html">tactics</a>
<a href="./rendering.html">rendering</a>
<a href="./superposition.html">superposition</a>
<br>
<a href="./commonplace.html">process_commonplace</a>
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2 changes: 1 addition & 1 deletion superposition.html
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<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./interference.html">interference</a>
<a href="./rendering.html">rendering</a>
<a href="./tactics.html">tactics</a>
<a href="./rendering.html">rendering</a>
<br>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
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